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charming her hearers with Gluck's "Che faro," which no doubt will become as popular as ever now that Orfeo has resumed its place on the stage. Mad. Lemmens-Sherrington never sang the Dinorah "Shadow Song more brilliantly than on this occasion, when she was rewarded with applause much more hearty than is generally heard at morning concerts. Perhaps the audience were wakened into sensibility by Mr. Sims Reeves' capital rendering of Lady Clarence Paget's setting of Sir John Suckling's words, "Why so wan and pale," which absolutely commanded an encorean occurrence most unheard-of at a fashionable matinée, and due to the admirable singing of Mr. Reeves, whose sudden infusion of energy in the last line, where the philosophic lover, despairing of his mistress, suggests that "the Devil take her," seemed both to startle and amuse his hearers. Mr. Reeves also gave two of Beethoven's exquisite little songs, "The Savoyard" and "Stolen Kiss," both of which he has familiarised to the Monday Popular Concert goers by his frequent introduction and admirable execution of these two playful emanations from the giant musician. A brilliant and masterly concerto, and a fantasia on Scotch airs (the former MS. and first time of performance), were contributed by Signor Piatti, who, we need hardly say, played his best. There was also a charming romanza, from the same pen, sung by Mad. Lemmens-Sherrington for the first time, the obbligato violoncello part sustained by the composer; the concluding piece in the programme, coro, "Inno marziale d' Italia," being also announced as by Signor Piatti. The English Glee and Madrigal Union (minus Mr. and Mrs. Lockey prevented by indisposition), Signori Solieri and Belletti, and Mr. Santley, one and all gave great satisfaction; the latter gentleman especially distinguishing himself in Mr. Hatton's setting of Longfellow's "Wreck of the Hesperus," accompanied on the pianoforte by the composer.

At M. DEPRET'S MATINÉE MUSICALE, on Saturday, at Collards' Pianoforte Rooms, a young lady, Miss Annie C***, aged ten years, made her first appearance as a singer, and astonished everybody by her vocal powers, and still more by her feeling and expression. She sang "The power of love;" a new comic ballad, "I've something to tell," and two French songs, accompanying herself on the pianoforte in all four, showing extraordinary self-possession no less than extraordinary talent. The performances created unusual excitement, and the auditors, mostly composed of ladies, were fairly beside themselves, hugging and kissing the child after each performance in the very ecstasy of delight. Such rare talent as Miss Annie C*** undoubtedly possesses should, we think, at present be exclusively cultivated in private. The tender plant should not be removed too soon from the green-house. The concert in other respects had many points of interest. M. Depret, who is a Belgian tenor of no mean ability, sang an "Ave Maria" of his own composition; a new song, or as it is called, Récit de Village, "Une histoire d'Enfant," written expressly for him by Signor Biletta; and took part in some concerted pieces. He has a good voice, with much vigour of style, and created a decided impression. His vocal assistants were Mad. Catherine Hayes, Mad. Rieder, Mad. Rudersdorff, Miss Augusta Thomson, Mad. Louisa Vinning, Mlle. Parepa, Miss Palmer, and Mr. Patey. The instrumentalists were Herr Leopold de Meyer, Signor Giulio Regondi, M. Paque, and M. Poussard. The great "lion-pianist" (as Berlioz called him), or 'sea-serpent pianist (as "Wedge" christened him), played his own fantasia on airs from Dinorah, and created a perfect furore, which was only appeased when he returned to the piano, and substituted his delicious improvisation on Meyerbeer's incomparable "Shadow Song" (Dinorah). Another encore was awarded to Mad. Rieder in the "Carnaval de Venise," in many instances a marvellous display of executive facility.

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MR. AND MRS. TENNANT'S MATINEE (Friday, June 22nd) was given at Collards' Concert Rooms under the most distinguished patronage. The programme, unambitious in a classical sense, was interesting and well-varied. Mr. Tennant selected for his solos Felicien David's "Air de l'Exstase," from the opera of Herculanum, and Herr Blumenthal's song, "When we are parted;" the latter, an extremely well-written and attractive composition, and admirably sung by Mr. Tennant, who is fast rising into one of the celebrities of the concert-room, was unanimously encored. Mr. Tennant joined Miss Augusta Thomson, Mrs. Tennant, and

Signor Ciabatta in the quartet from Martha, "Dormi pur;" Miss Augusta Thomson, Mad. Sainton-Dolby, and Signor Ciabatta in Signor Schira's part-song, "La notte e bella;" and sang, with Mrs. Tennant, Blangini's duet, "Per valli per boschi." Mrs. Tennant confined herself to a single solo, “Voi che sapete," which she sang with irreproachable taste. Among the other noticeable performances were "The Skipper and his Boy," by Mad. SaintonDolby, to which very characteristic song the admirable singing of the artist imparted a new charm; Mr. Pratten's execution on the flute of a fantasia of his own composition; and Herr Blumenthal's pianoforte performance of two of his own pieces, "Le Rève Melodie" and "Chanson le Capri," both admirably played. M. Jules Lefort, Signor Ciabatta, and Miss Augusta Thomson also supplied vocal pieces; and Herr Engel (harmonium), Signor Regondi (concertina), and Mr. Boleyne Reeves (harp), contributed their instrumental quota. The conductors were Signors Campana and Bucalossi, and Mr. Cusins.

MADAME LOUISA VINNING gave a Matinée on Thursday, at Collards' New Concert Rooms, but unfortunately was herself prevented from assisting, at the last moment, by a severe domestic calamity. Under these circumstances, Mad. Lemmens-Sherrington and Mad. Badia, whose names were not announced in the programme, and Miss Augusta Thomson, whose name was announced, kindly volunteered their services in a printed placard. Mad. Lemmens-Sherrington sang the "Shadow Song" from Dinorah; Mad. Badia a Neapolitan canzonet and a new song about Garibaldi, which was received with tremendous cheers; and Miss Augusta Thomson Signor Arditi's "Il Bacio" and Herr Francesco Berger's "Ave Maria." The original singers, in addition to Miss Louisa Vinning and Miss Augusta Thomson, were Mlle. Parepa, Mad. Laura Baxter, Mr. Wilbye Cooper, M. Depret, Mr. Pinkess, and Mr. Santley. Mendelssohn's trio in D, for piano, violin, and violoncello, was well executed by Messrs. Harold Thomas and H. Blagrove, and Sig. Pezze. In addition to solos on their respective instruments, by Messrs. H. Blagrove (violin) and S. Pratten (flute), and Mad. Pratten (guitar), Mlle. Caroline Remaury played two pieces on the piano with decided gained the first prize at the Conservatoire of Paris last year. Her This lady, who made her first appeal to a British public, Worte, and a Tarantelle by Stephen Heller, the latter eliciting a performances on Thursday were one of Mendelssohn's Lieder ohne unanimous encore. Mlle. Remaury will be heard of again before the end of the season.

success.

HER MAJESTY'S THEATRE.-We learn on the best authority that Mr. Charles Hallé is engaged at Her Majesty's Theatre, as the conductor of the English operas about to be brought out at that establishment in the coming winter.-Manchester Examiner and Times.

MR. HENRY PHILLIPS, our well-known English. basso, has nearly completed a sacred cantata, entitled A Day of Devotion. It will occupy about one hour in performance, and will be brought out during the autumn.—Ibid.

M. LEOPOLD DE MEYER has departed for the baths of Kissingen. He will return in September, being engaged "at fabulous terms to form part of a touring company, under the enterprising Mr. Willert Beale.

MLLE. AMALIA FERRARIS has arrived to fulfil her engagement with Mr. E. T. SMITH. The celebrated danseuse will make her début in the grand ballet of Orfa, and will subsequently appear as Fenella in Masaniello.

MAD. VIARDOT is in London. There is a rumour that this renowned singer is engaged by the Earl of Dudley to sing the part of Orfeo in Gluck's Orfeo.

MARIO'S "ECCO RIDENTE."-"A more legitimate and elegant piece of singing than Mario's 'Ecco Ridente' has never been surpassed."-Critic.

TITIENS AND ALBONI." In Titiens' Semiramide that intellectuality shines most from its contrasting with the part she impersonates, a part which, in itself, nowise assists her, but, as in a picture, shadow renders the light more striking. In the splendid aria, Bel raggio,' the chain of solfeggi and fioriture that she, lavished on the audience were executed with such marvellous

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force and precision that she electrified the house, and with Alboni in the grand duet, Giorno d'orrore,' so exquisite and so nobly impressive was the dramatic interpretation that their voices could only be considered as the vehicle to convey to a duller perception the high intellectuality which distinguishes their conception of scenic impersonation."-Critic.

ORGAN. At Mr. A. H. Lowe's first private organ performance, Brunswick Chapel, Upper Berkeley Street, on Thursday evening, July 5, the following was the Programme:

PART 1. "In native worth" (Creation), Haydn ; "O thou that tellest" (Messiah), Handel; "Kyrie Eleison" (12th Mass), Mozart; March (Eli), Costa; "Total Eclipse" (Samson), Handel; "Gloria in excelsis" (12th Mass), Mozart.

PART 2. "Agnus Dei" (1st Mass), Mozart; War March (Athalie), Mendelssohn; "Be not afraid" (Elija), Mendelssohn; "The marvellous works" (Creation), Haydn; March (Prophète), Meyerbeer. The music and the playing afforded equal satisfaction to the hearers.

MOZART'S SONATA IN B FLAT and MISS ARABELLA GODdard. In the selection from Mozart's works at last Monday's Popular Concert, the twenty-sixth concert and the last but one of the season, the new feature was the charmingly graceful sonata, in B flat, for pianoforte alone, played by Miss Arabella Goddard. It belongs to his later period, when he had gathered all his vast experience, which never, as in some smaller minds, shouldered his originality or his sense of beauty, out of its proper position. The Andante cantabile (second movement), in E flat, is a gem of quiet and refined melody; and the whole work is one of the many reproductions that have added lustre to this series of chamber concerts on a large scale. The playing of Miss Goddard in this and in the sonata in F, for pianoforte and violin, which had been previously performed but once, again exemplified the versatility of her great talents. The pianoforte writing of Mozart is so clear and distinct, so clear from conglomeration and fogginess, that none but the highest mechanical and musicianly ability can pass muster therein. The pianiste did more than this; she exhibited the Mozartean ideal (before an audience in this year of 1860), as it probably never has been since the death of the great composer. The quiet and refinement of Mozart, and the depth and sublimity of Beethoven, seem to live again under her hands, and struggle for her favour.-From "The Salamander."

CRYSTAL PALACE.

(Communicated.)

THE distribution of the prizes won at Wimbledon by the competitors at the National Rifle Association, will take place at the Crystal Palace on Monday next, at three o'clock. The successful candidates will receive their distinctions from the hands of the Right Hon. Sidney Herbert, M.P., Minister of War, supported by the members of the Council of the Association. The Handel Orchestra will be decorated for the occasion with flags and trophies and the names of the competing corps, and a raised dais erected in front, along which the winners will proceed in turn to receive the prizes. Military bands will occupy the space round the great organ, the front rows of the orchestra being occupied by the members of the Rifle Association and their friends. On either side of the military bands, seats will be reserved for the members of the Rifle Corps. The ceremony of presentation will commence at three o'clock. At its conclusion a series of athletic sports and exercises, in which the volunteers take part, will commence in the grounds, and be continued until dusk. No alteration will take place in the usual Monday charge for admission, viz., one shilling.

On Tuesday and Wednesday the greatest meeting of brass instrument performers ever known will be held at the Crystal Palace. Ninety-nine brass bands have entered the lists as candidates for prizes. These are from all parts of the country, but mostly from the great manufacturing districts. The members of these bands-nearly two thousand in number-will, with their friends, be conveyed to London by excursion trains on Monday. All the great railway companies run trains specially for the occasion. The leaders of the bands meet at Exeter Hall the same

evening, and draw lots for the order in which they are to play at the following two days' contest. Eight platforms will be erected in various parts of the Crystal Palace grounds, the judges for each platform stationing themselves in tents in the immediate vicinity. At three o'clock on each day the whole of the bands will assemble on the great Handel orchestra, and perform in union "The Heavens are telling" and the “ Hallelujah" choruses, Mendelssohn's Queen." After this performance the trials will be continued "Wedding March," "Rule Britannia," and "God save the

until dusk, the first day being devoted to the selected bands. The whole of the arrangements are under the direction of Mr. Enderby Jackson, of Hull, whose long experience is a guarantee for their efficiency. The judges will be chosen from the leading military bandmasters. On Thursday the National Rose Show will be held.

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ELECTION OF ORGANIST AT THE LEEDS TOWN HALL.- After a severe contest for this honourable post, before Messrs. John Goss, George Cooper (London), and W. T. Best (Liverpool), these eminent judges have recommended Mr. Wm. Spark, of Leeds, as the person best qualified for the situation. There were twenty-two candidates, who were ultimately reduced to seven; and these were known to the judges only by an alphabetical letter, previously drawn by the players. The following three were returned in their order of merit: Mr. Wm. Spark, Leeds (G); Mr. W. Parratt, Huddersfield (E); and Mr. Taylor, Gloucester (C). In conjunction with Mr. Henry Smart, of London, Mr. Spark was the designer of the magnificent organ, the beauties of which he will now be enabled to display. The salary is 2001. per annum. On Wednesday last a special meeting of the Leeds Town Council was held, when Mr. Spark was appointed organist without a dissentient.

Letter to the Editor.

BEETHOVEN v. PAER.

every

SIR, By the timely reprint of Herr Hiller's letter to the Editor of the Niederrheinsche Musik-Zeitung, and by the expression of your opinion thereupon, you have rendered an important service to the cause of the art over whose interests you so jealously watch, to artists generally, and to the memory of the immortal Beethoven in particular. While fully agreeing with your forcible observation that trait which can contribute to an elucidation of Beethoven's character, and to the history of the origin of his works, is welcome,"-yet I cannot refrain from expressing my conviction, that the fashion of hunting up incidents-no matter of how trivial a character- in the lives of great men, is now-a-days carried to a pitch bordering on absurdity. The peculiar features you emphatically make mention of, are assuredly of the utmost value to the student, in aiding him to form a just conception and appreciation of the creations of a master mind. Still, however, it appears to me altogether a mistaken idea, to lay such immense value upon a few desultory words which such minds often (and often wrongly) have attributed to them. Geniuses have ever been, and probably ever will be, subject to the frailties, to the

-Thousand and one shocks That flesh is heir to,

and are just as apt to make slips of the tongue as any one else. Those opinions, however, which, in their undisturbed moments of repose, they, after mutual reflection, have written down for the guidance and edification of posterity, these I maintain cannot be too highly valued, coming as they do from minds peculiarly endowed. This is pre-eminently true of those which are calculated to give us an insight into those exalted regions, where those mighty spirits which engendered them have lived, moved, and had their being. To this side of the picture, Sir, where we see reflected some (no matter how small an atom) of the inward life of the soul, the attention might be a little more earnestly directed, without the affairs relating to the "mortal coil" suffering any disadvantage, and with certain benefit to ourselves and to posterity.

I have been led into these reflections by the seeming importance which has been attached to certain expressions attributed-on M. Hiller's very reliable authority-to Signor Ferdinand Paer, and who it appears proclaimed them as Beethoven's own words. What M. Paer's object may have been in originating, and M. Berlioz's in recently retailing them, I know not, but presume the former flattered himself that he was chosen by Beethoven as a model. Nothing could have been further from the Amphion's mind. The two operas directly concerned have nothing whatever in common. That of the great German tone-poet, being a thing of beauty, is a thing of joy for ever, while Signor Paer's, being written for the mode, died with the mode.. The dazzling brightness of the one has completely obscured the other, or as M. Fétis,† in speaking of these two identical operas, says, the one has completely fait oublier the other. If, therefore, this was Paer's idea, he has been most miserably deceived. If it was not, perhaps M. Hiller can tell us what conclusions he supposes Paer intended his assertions to suggest. Whatever may have been his motives, his assurance has served at least one good purpose-that of provoking investigation for the truth.

Regardless of the axiom Veritas odium parit, I have taken the trouble to seek for some confirmation of Paer's statements. Having searched where it was most likely to be found, and having found nothing to strengthen, but everything to weaken them, I have come to the conclusion in my own mind, that the whole thing is a mere fabrication, a weak invention of Signor Paer. My faith in his veracity is, at any rate, by no means so strong as M. Ferdinand Hiller's. Before proceeding to lay before your readers the grounds on which my suppositions are based, I will, for safety's sake, cry out with Gretchen :

"Gott verzeih' mir es, wenn ich ihm
Unrecht thue !"

And now to the facts of the case, to get at which I have had to wade through a mass of evidence,-some of it, I must confess, contradictory enough. In the first place, then, Beethoven's biographers (J. A. Schlosser, Marx,§ Schindler) take no notice whatever of any such circumstance, a very unlikely proceeding if there were any truth in it. In the second place, Paer's Leonore was never performed at all till the

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end of 1824, in Dresden,* where he wrote it. At this time, according to Marx, Beethoven was deeply engaged in the composition of his Fidelio (Leonore). If a Vienna correspondent of the Leipziger Allegemeine Musikalische Zeitung (1809, p. 383) is to be credited, Paer's opera was performed (with little success) for the first time in Vienna, in January 1809 ! Thirdly and lastly, Beethoven was too deaf, long before Paer composed Leonore, to be (orally) capable of judging either of its good or its bad points. His own words are, in a letter addressed to Wegeler, dated 29 Juni 1800‡:- Mein Gehör ist seit drei Yahren immer Schächer geworden......... Ich kann sagen, I bringe mein Leben elend zu. Seit zwei Yahren fast meide ich alle Zesellschaften, weil mir nicht nugl ichist, den Leuten zu sagen: ich bin taub. § Riess || relates, too, that two years later (1802), during a walk through the fields with Beethoven, he wished to call his attention to the songs of the feathered tribe, to the murmuring of the rippling brook, &c. and Beethoven listened, and listened in vain! He was living in a world where he heard no songs but those which his own highly-endowed imagination called forth, and where he heard the murmuring of no waters save those which he was destined to shed in tears of sorrow!

*

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This is the clear state of the case, so far as I have been able to make it out. The conflicting statements to which allusion has been made have reference more or less to the date of both operas. I have only space for one or two examples. Treitschke gives the close of 1804 as the time when Beethoven commenced composing Fidelio (Es war Ende, &c.) Marx, on the contrary,* ** says Beethoven devoted himself almost exclusively to this his only opera, for two whole years (1804 and 1805). The Leipziger report above alluded to, and Schilling, tt both give 1804 as the year in which Paer's opera first came to light, whereas Fétis, who prefaces his list of Paer's compositions with the words-Je crois que la liste suivante des ouvrages de ce compositeur est complèté-gives the year 1805. This, however, notwithstanding M. Fétis's assurance of perfection, is at variance with all the other authorities.

It is my good fortune to know one gentleman who could clear up all doubts in the matter, and that is M. Thayer, a literary gentleman of Boston (America), and one well known in musical circles. To my certain knowledge he is now engaged at Vienna, in collecting materials for a biography of Beethoven, to which "labour of love" he has devoted many years, and in which commendable undertaking the whole musical world must I am sure heartily wish him God speed!

It is to be hoped M. Thayer will give us the benefit of his research and experience, for I feel certain the subject will interest him, and that he is not less alive to the import of the great and glorious truism--Magna est veritas, et prævalebitThan, Sir, yours, &c.

16 Grand Parade, Brighton.

JOHN TOWERS.

STRONG PREJUDICE AND WEAK JUDGMENT. A certain author having written a poem on the attributes of the Deity, in which to assist his attempt, and make it as worthy of its great name as he could, he introduced sentences from the Scriptures to impart strength to his verses, making only such alterations as were necessary to fit the measure and rhyme with their preceding lines. Being desirous to have the judgment of a friend well up in languages and literature, he lent it to him, begging of him to give his candid opinion on its merits when they met again, observing, that he would not be offended if he cut it up" root and branch," providing he gave his real opinion on its good or bad qualities. The friend meeting him a few days after, to his astonishment praised his poem to an extent his own modesty would not allow him on any account to imagine it worth; and afterwards showing it to another friend, he not only found fault with it, but commenced reading to certain persons present the scripture quotations, in which he gave evident proofs by ridiculing the extracts that he understood them not, knowing little or nothing of "the oracles of God," but professing to be a writer of plays and poems of a secular character.

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The author knowing the lines the other found fault with to be sublime quotations, could not at first understand how he could possibly speak disrespectfully of them, and suspecting the self-wise critic was more influenced by prejudice than a calm deliberate judgment, he resolved to ascertain by playing on his ignorance. Accordingly, he transcribed a fine poem by a poet and scholar, whose merits no one could call in question, and putting it into his hands, observed, "You cut up my poem on the attributes of the Deity, perhaps this will please you better." The critic, not knowing the work, and supposing it to be the other's production, glanced over it and found fault with some of the lines, asserting they were not in accordance with sound sense; when, on being asked who he supposed to be the author, he replied, "You." On being informed to the contrary, and fairly caught by his own censure, he twisted about, and glancing at the copy a second time, pretended not to have read it with sufficient attention in the first instance to enable him to discern its beauties, but now they began to unfold themselves to his perception, that escaped his discrimination when the poem was first put into his hands. Application.- When a new candidate for public patronage appears on the list, should he introduce an original train of thoughts and style never before attempted, he has to contend with the ignorance and strong prejudice of the public besides that of the paid critics, who as often betray their own ignorance of its beauties as the public who look up to their supposed superior judgment as a guide to their own.

The first printed criticisms on Hamlet and Macbeth (Oxberry's dramatic and musical anecdotes) concluded their severe censures by advising" Mr. William Shakspeare not to attempt writing plays, but to return to his former occupation of holding the horses' reins at the theatre door, as he will never succeed."

Likewise, when the composer Beethoven's first work for the pianoforte variations to a march- was reviewed in the first German musical journal of the day, Allgemeine Musikalische Zeitung, our deep penetrating critic would not allow that he possessed a talent for composing "even variations of any merit; that harshness of modulation with a constant struggle to be original were his besetting sins." The sequel has shown how much these two would-be infallible judges were wrong in their opinions, as both the poet and musician have proved to the world whether they possessed any talent or not in their respective arts. Were critics to allow a new candidate to chance his success with the public, his works would stand or fall by their own intrinsic worth. It is an unfortunate drawback to fresh authors, that if they beat out a new track no preceding one ever trod, they have to wait till a better acquaintance with their peculiarities enables the public to feel the power of their charms, and too often the poor author is censured while living, and pines in obscurity, when after his removal from the scene of his labours out of the reach of praise or abuse, they find out his merits, discovering beauties that when first offered to their notice appeared to be so many absurd attempts.-From Forty-two Fables chiefly for Young Persons, by Haydn Wilson.

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THE notes of this peculiar member of the feathered tribe must be familiar to all whose pleasure it has ever been to know the delights of a fine Spring day spent in roaming through the bright green fields and along the quiet pathways of the verdant country, so fresh and beautiful at that time of the year. The cuckoo has ever been a favourite. Notwithstanding that his dealings with other birds have been often exposed as most dishonourable, poets (disregarding, as is their wont, the failings of private life) have apostrophized the bird in the most flattering manner, as "Sweet Harbinger of Spring," "Beauteous Stranger of the Wood," and what not. He is the most noticeable amongst the birds who announce the arrival of Spring, the advent of bright sunshine and flowers, after the cold and dreary time of Winter; and the herald of such a change could hardly fail to be heard with pleasure. As soon as the daisy and primrose deck the green fields and the brooksides, the woods echo his voice and sing his welcome :

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The cuckoo is a bird of passage; and when he departs for the enjoyment of a second Spring in other climes, while we remain to experience the vicissitudes of our own ever-changing climate, we are fain to admit that his voice is missed in the daily concert of the feathered songsters, and that his reappearance amongst us would be no unwelcome event. Musical composers have frequently introduced the cuckoo's song into compositions intended to represent pastoral scenery, and often with much effect. We may recall instances in Beethoven's great Pastoral Symphony; Atterbury's old glee, "Come let us all a maying go" (in which the ringing of bells and the singing of our bird are very prettily combined); and Haydn's comical "Toy Symphony." In the latter instance, however, the cuckoo is one of those curious toys which are often seen on the continent, and which are familiar to us as adjuncts to the little wooden clocks made by the Dutch, which never announce the hour except to the accompaniment of what is really a very fair imitation of the notes of the natural bird.

There is some difference of opinion as to what are the real pitch and interval of the notes of the cuckoo : some affirming them to be a major third (as E to C, downwards), others insisting on the minor third (as E flat to C). It has also been asserted that at the commencement of the season he chants his lay in the bright interval known to musicians as the "major third ;" sinking, by degrees (from relaxation of the vocal organs), to the sombre and mellow harmony of the "minor third," as the season draws to its close.

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Although it is possible that each particular cuckoo-like each particular human bird-may have his own peculiar vocal capabilities, and measure of musical talent (some being gifted with a greater exactitude of ear than others); and that they may range, perchance, in compass from high soprano to contralto, and even counter-tenor cuckoos, yet I must own that I have never heard their double " COO except as a "major third;" and that at nearly one uniform pitch, viz. F and D flat; as I have proved by applying to it, on several occasions, the test of a tuning-fork of modern scale. On the other hand it must be remarked, that in Beethoven's Pastoral Symphony the cuckoo's notes stand as a major third at the pitch D to B flat, whilst Atterbury, above-mentioned, appears particular in adhering to the

in his glee minor third. As a disproof to the supposition above-named, about the sinking of the voice towards the end of the season, I may remark, in conclusion, that I have found the contrary to be the case. A bird of some ability as a cuckoo, whom I heard at the close of the season, seemed to be at much trouble in disproving such a theory. He, with a determination worthy of a concert-singer, boldly sang his upper F too sharp, and thus formed a tierce so much like an "augmented third," and so much out of tune, that I was fain to presume that he had recently attended some concert or other-or to consider him a strong advocate, on principle, of that system of tuning (or, as some will have it, putting out of tune) known as "Equal Temperament.”

ARTHUR SEYMOUR SULLIVAN.-Of the Second Examination in the Conservatorio of Leipsig, the Leipziger Journal (May 26th) writes:-"To-day's examination was devoted partly to composition, partly to ensemble-playing. With regard to the former, we rejoiced in discovering in young Sullivan a talent to whom with although a little lengthened, was aiming with well-chosen means earnest study one may promise a good future. His Ouverture,' and full consciousness at a certain end, and mastering the expression. That he frequently consulted Mendelssohn, we will not lay to his charge, as it would be looking for impossibilities if we expected originality in such first attempts." The General Auzeiger (May 27th), adds the subjoined :-" Still more applause was given to the Ouverture composed by Mr. Arthur Seymour Sullivan, from London, to Moore's Rose-festival in Lalla Rookh,' which in the spirit of the present time carried us with all the charm of the poem to the fields of Persia, and justifies us to great hopes for the young composer. Mr. Sullivan conducted his own music." Mr. Sullivan is the Mendelssohn scholar sent by the Committee of the Mendelssohn Testimonial Fund to pursue his musical studies at Leipsic.

SIGNAL ACT OF BENEVOLENCE ON THE PART OF matic scales, both ascending and descending, skips of thirds, fourths, MR. COSTA. fifths, &c., to teach him to master the intervals, and sustain the sound, besides shakes, groups, appogiaturi, and other vocal exercises of various

The following is from the pen of the grateful recipient of the kinds. This one sheet of paper furnished both master and pupil occurenowned maestro's charity:

-

COSTA.

"Celså sedet olus arce

Sceptra tenens, mollitque animos, et temperat iras."-Eneid.

It is known to the original members that, until the third year after its birth, the Musical Union gave no decided promise of longevity, and the Director's Matinée was therefore an object of vital importance to its very existence. The prosperity that now crowns my labours, in having reared this once fluctuating and precarious offspring to robust health and maturity, does not make me unmindful of the past; and there is no act of professional sympathy which I recollect with more satisfaction and grateful remembrance than the personal attendance of Costa at the Director's Grand Matinée, with his golden tribute at the door in support of the institution, then in its infancy. Now that I am retired from orchestral service, I can mention this trait of Costa's generosity without being accused of servile adulation; and will also add, that by similar acts of kindly feeling towards those under his bâton, he has permanently and deservedly secured their affections.-Musical Sketches. J. ELLA. If the Director of the Musical Union would be as "mindful" of others among his early benefactors, his "fluctuating and precarious offspring" would fare none the worse.

THE JACOBOURTCH FAMILY had the honour of performing at the Great Jesuit College, Stonyhurst, on Thursday, to upwards of 400 professors and students (Mad, Jacobourtch was the only lady present, and the first professional lady performer who ever appeared there). Owing to the approbation elicited by the performance, M. Jacobourtch has been honoured with a testimonial from the professors.

ANSWER OF THE ORPHÉONISTES OF FRANCE TO THE ADDRESS OF THE FRIENDS OF PEACE.*. Gentlemen and Brothers, -We are profoundly grateful for the cordial welcome we have received in England, and especially for the words of sympathy which our visit has elicited from yourselves. Before we set foot on English soil there was already between us a reciprocity of sentiment and a union of hearts; we understood each other on either side of the Channel; and the harmonious sounds which echoed through the Crystal Palace during our four concerts were little more than the brilliant epilogue of this intimate alliance between the two peoples. The essentially pacific mission of the Orpheon was, therefore, likely to be best appreciated by you, whose generous and persevering efforts must inevitably bear their fruits in the future. The cause which you advocate is too holy not to awaken a universal response; wherefore we esteemed ourselves happy to be the first to re-echo with you on British soil the cry of union and fraternity which is the device of your powerful and admirable institution. The French Orphéon is a work of recent creation; it derives its strength from liberty of association. Under the banners adorned with the emblems of harmony, concord, and peace, all classes of society are represented by some of their most honoured members. England will certainly know how to appreciate the good and noble influences of those fraternal sentiments which we leave behind us in England and take back with us into France -we three thousand singers, selected from that family which already numbers forty thousand performers, and which has associated with itself, in the work it is doing, the most celebrated artistes of our country, and has won the sympathies of the whole nation. Be assured, gentlemen, that we shall always cherish the remembrance of your fraternal reception; the record of this international demonstration will ever live in our hearts. In the midst of our countrymen, in the bosom of our families-in private as in public lifewe shall in future be the sincere fellow-workers with the Committee of the Friends of Peace. Union and solidarity between France and England, and such henceforth shall be the rallying cry of the Orphéonistes. In the name of the Orphéons and Choral Societies of France. Eugene Delaporte, Director of the Festival. London, July 2, 1860.

PORPORA, one of the most illustrious composers of Italy, entertained a great feeling of friendship for a young man, a pupil of his. He asked his youthful acquaintance whether he thought he possessed courage enough to follow constantly the road he, Porpora, traced out for him, however wearisome it might appear. On receiving an affirmative reply, Porpora wrote down, upon a piece of ruled paper, the diatonic and chro

*Presented by a Deputation from the Friends of Peace, at the Crystal Palace, on Saturday morning, June 30.

The

pation for a year; the following year also was devoted to it. pupil began to murmur, but the master reminded him of his promise. The fourth year passed, the fifth year followed, and still there was the same eternal sheet of paper. Even during the sixth year it was not given up, though lessons in articulation, pronunciation, and declamation were added. At the end of the year, the pupil, who thought he was only engaged on the elements of his art, was surprised at hearing his master say, "There, my dear boy, you have nothing more to learn; you are the first singer in Italy." Porpora spoke the truth, for the singer was Caffarelli.

HANDEL was frequently subject to violent fits of rage, especially when his amour-propre was hurt. But this nervous excitement was almost instantly appeased. Mad. Cuzzoni one day informed him that she would not sing his air of Otton, "Falsa imagine." "Oh! you refuse to sing it, do you!" exclaimed the composer, "we will see!" With these words he suddenly seized hold of the prima donna round the body, and, opening the window, pretended he was going to throw her out, "I will sing it," cried the affrighted vocalist, "I will sing it!" "That former serenity, and thus speaking, he carefully put her down. On is the best thing you can do," replied Handel, while his face resumed its another occasion, when about to conduct the rehearsal of his admirable Te Deum, composed for the peace of Utrecht, Handel exclaimed with enthusiasm, before commencing, "Gentlemen, whoever makes a fault is a wretch!" The excellence of the performance and the beauty of his own work excited him so much, that he stopped entranced, and forgot to mark time. Some one directed his attention to the fact. Handel, greatly agitated, waited till the conclusion of the Te Deum, and then exclaimed, Gentlemen, it is I myself who am a wretch !"

MRS.

66

RS. ROBERT PAGET, CONTRALTO, R.A.M. Communications relative to Concerts, Oratorios, or Pupils, to be addressed 60 Pentonville Road, N.

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MEYE

EYERBEER'S FOURTH MARCHE AUX FLAMBEAUX ("Royal Wedding March "), composed in honour of the Marriage of the Princess Royal of England with Prince Frederick William of Prussia, which was played with such immense effect by the Band of the Guides at the Fête of the Orphéonistes at the Crystal Palace, is published for the Pianoforte, price 4s., by Duncan Davison & Co., 244 Regent Street, London, W.

SCHUBERT'S IMPROMPTU in B FLAT, played by Mr. CHARLES HALLE, is published by Ashdown and Parry (successors to Wessel and Co.) 18 Hanover Square, London.

CHURCH ORGANS.-FORSTER and ANDREWS, Organ

Builders, Hull, have a number of SECOND-HAND ORGANS for sale, which they have taken in exchange, built by Bevington, the late J. C. Bishop, Lincoln, Parsons, Bryceson, Holdich, &c.-For price and particulars, apply to Forster and Andrews, Organ Builders, Hull.

MUSICAL INSTRUMENTS for VOLUNTEER and

COUNTRY BANDS.-BOOSEY and SONS beg to state that they have made arrangements to supply BRASS and REED INSTRUMENTS, of the very best description, at the lowest scale of prices. Band-Masters and others are recommended to forward a list of Instruments required, for which they will receive an estimate of cost by return of post.

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Boosey and Sons, Holles Street.

-T. A. JOHNSON'S SUBSCRIPTION CONCERTS, 1860-61. Touring Parties will oblige by sending Programmes

and terms.

GLASGOW-CITY VENTH SEASON THOSE Concerts, under the

YLASGOW.CITY HALL SATURDAY EVENING auspices of the "Glasgow Abstainers' Union," will commence on the 1st of September next. Applications to be addressed to Mr. James Lawson, Secretary, Glasgow Abstainers' Union," 118 Union Street, Glasgow.

CA

YANTERBURY HALL CONCERTS.-Westminster Road. Lessee, Mr. C. MORTON.-Every Evening.-C. H. GOUNOD's Opera, Faust-Faust, Mr. HENRY HERBERT; Mephistopheles, Mr. C. BERNARD; Siobel, Mrs. ANDERSON; Marguerite, Miss RUSSEL. Conductor, Herr JONGHMANS-and Selections from Dinorah, Trovatore, and Macbeth. Several interesting Pictures have been added to the Fine Arts Gallery. The suite of Halls have been re-decorated and beautified, and constitute one of the most unique and brilliant sights of the metropolis.

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